Chronicles， Vol. 1像一块滚石 鲍勃·迪伦回忆录第1卷 英文原版 [平装] pdf epub mobi txt 电子书 下载 2025

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Bob Dylan（鲍勃·迪伦） 著

图书标签:

• Bob Dylan
• Chronicles
• Volume One
• Memoir
• Autobiography
• Music
• Rock and Roll
• Literature
• American Literature
• Biography
• Rolling Stone

出版社： Simon & Schuster US

ISBN：9780743244589

商品编码：19280344

包装：平装

丛书名： Chronicles

出版时间：2005-10-31

用纸：胶版纸

页数：293

正文语种：英文

商品尺寸：21.3x14.1x2.2cm

内容简介

""I'd come from a long ways off and had started a long ways down. But now destiny was about to manifest itself. I felt like it was looking right at me and nobody else.""

Bob Dylan's "Chronicle: Volume One" explores the critical junctions in his life and career. Through Dylan's eyes and open mind, we see Greenwich Village, circa 1961, when he first arrives in Manhattan. Dylan's New York is a magical city of possibilities -- smoky, nightlong parties; literary awakenings; transient loves and unbreakable friendships. Elegiac observations are punctuated by jabs of memories, penetrating and tough. With side trips to New Orleans, Woodstock, Minnesota and points west, "Chronicles: Volume One" is an intimate and intensely personal recollection of extraordinary times.

Revealing, poetical, passionate and witty, "Chronicles: Volume One" is a mesmerizing window on Bob Dylan's thoughts and influences. Dylan's voice is distinctively American: generous of spirit, engaged, fanciful and rhythmic. Utilizing his unparalleled gifts of storytelling and the exquisite expressiveness that are the hallmarks of his music, Bob Dylan turns "Chronicles: Volume One" into a poignant reflection on life, and the people and places that helped shape the man and the art.
　　一本历时三年在手动打字机上敲出来的回忆录，证明其作者是一位杰出的散文大师，一位引人注目的文化观察家，和一位化装成荡秋千演员的诗人。我们早就知道迪伦会写，然而我们没有想到他会写得如此出色，没有想到这位摇滚老江湖可以用如此的热情、怜悯和深邃的眼光回顾往昔的岁月。
　　你在这里听到迪伦无与伦比的声音，他的抑扬顿挫，他冷面幽默的机智，他玩弄词藻的本领以及各种惊心动魄的回忆——所有一切都讲得非常漂亮。原来迪伦竟然在追忆过去，想象当年人们的面貌、穿着和谈吐的时候竟然有种普鲁斯特式的风采。
　　尤其引人入胜的是，本书献给读者一份心意，让他们更好地了解他作品的真谛：迪伦几十年来在若干采访中极为吝啬地散落的思想火花。本书为读者开辟了一条理解作者思和艺术的通道，对于迪伦而言，这是一个至关重要的人生交接点，迪伦一方面在寻找一种让整整一代人有共鸣的声音，替他们说话（尽管他自己并不情愿如此）。另一方面，他又在积极复兴他游吟诗人的传统。
　　鲍勃·迪伦不仅称得上是20世纪伟大的摇滚音乐家，更是一位杰出的诗人，一位语言大师（他是惟一一位获诺贝尔文学奖提名的音乐家）。本书出版以后，获得了如潮的好评：有媒体把它与克鲁亚克的《在路上》相提并论，也有媒体说它写作手法直追意识流大师普鲁斯特，更有媒体称迪伦为莎士比亚以来伟大的英语作家。本书记录的不仅是作者发明创造和灵感迸发的辉煌时刻，还有那些意气消沉的时刻！

作者简介

Bob Dylan is one of the most lauded and greatest-loved songwriters and performers of all time. His particular brand of music first caught the public’s attention in the 1960s. He has released thirty-five studio albums with hits ranging from “Blowin’ in the Wind” and “Like a Rolling Stone” to “All Along the Watchtower,” “Knockin’ on Heaven’s Door,” and “Make You Feel My Love.” His remarkable career in music and literature continues to this day.
　　鲍勃·迪伦（Bob Dylan，1941年5月24日－），原名罗伯特·艾伦·齐默曼（Robert Allen Zimmerman），有重要影响力的美国唱作人，摇滚歌手，民谣歌手，音乐家，诗人，获2008年诺贝尔文学奖提名。迪伦的影响力主要体现在60年代，他对音乐的主要的贡献是歌词的深刻寓意与音乐成为同等重要的一部分，他对工业国家整个一代人的敏感性的形成起了很大的作用，他的音乐对理解和分析60年代是至关重要的。纵观其音乐生涯，Bob Dylan 堪称赋予了摇滚乐以灵魂。

精彩书评

One would not anticipate a conventional memoir from Bob Dylan--indeed, one would not have foreseen an autobiography at all from the pen of the notoriously private legend. What Chronicles: Volume 1 delivers is an odd but ultimately illuminating memoir that is as impulsive, eccentric, and inspired as Dylan's greatest music. Eschewing chronology and skipping over most of the "highlights" that his many biographers have assigned him, Dylan drifts and rambles through his tale, amplifying a series of major and minor epiphanies. If you're interested in a behind-the-scenes look at his encounters with the Beatles, look elsewhere. Dylan describes the sensation of hearing the group's "Do You Want to Know a Secret" on the radio, but devotes far more ink to a Louisiana shopkeeper named Sun Pie, who tells him, "I think all the good in the world might already been done" and sells him a World's Greatest Grandpa bumper sticker. Dylan certainly sticks to his own agenda--a newspaper article about journeymen heavyweights Jerry Quarry and Jimmy Ellis and soul singer Joe Tex's appearance on The Tonight Show inspire heartfelt musings, and yet the 1963 assassination of John Kennedy prompts nary a word from the era's greatest protest singer. For all the small revelations (it turns out he's been a big fan of Barry Goldwater, Mickey Rourke, and Ice-T), there are eye-opening disclosures, including his confession that a large portion of his recorded output was designed to alienate his audience and free him from the burden of being a "the voice of a generation." Off the beaten path as it is, Chronicles is nevertheless an astonishing achievement. As revelatory in its own way as Blonde on Blonde or Highway 61 Revisited, it provides ephemeral insights into the mind one of the most significant artistic voices of the 20th century while creating a completely new set of mysteries.
--Steven Stolder

精彩书摘

Chapter 1: Markin' Up the Score Lou Levy, top man of Leeds Music Publishing company, took me up in a taxi to the Pythian Temple on West 70th Street to show me the pocket sized recording studio where Bill Haley and His Comets had recorded "Rock Around the Clock" -- then down to Jack Dempsey's restaurant on 58th and Broadway, where we sat down in a red leather upholstered booth facing the front window. Lou introduced me to Jack Dempsey, the great boxer. Jack shook his fist at me. "You look too light for a heavyweight kid, you'll have to put on a few pounds. You're gonna have to dress a little finer, look a little sharper -- not that you'll need much in the way of clothes when you're in the ring -- don't be afraid of hitting somebody too hard." "He's not a boxer, Jack, he's a songwriter and we'll be publishing his songs." "Oh, yeah, well I hope to hear 'em some of these days. Good luck to you, kid." Outside the wind was blowing, straggling cloud wisps, snow whirling in the red lanterned streets, city types scuffling around, bundled up -- salesmen in rabbit fur earmuffs hawking gimmicks, chestnut vendors, steam rising out of manholes. None of it seemed important. I had just signed a contract with Leeds Music giving it the right to publish my songs, not that there was any great deal to hammer out. I hadn't written much yet. Lou had advanced me a hundred dollars against future royalties to sign the paper and that was fine with me. John Hammond, who had brought me to Columbia Records, had taken me over to see Lou, asked him to look after me. Hammond had only heard two of my original compositions, but he had a premonition that there would be more. Back at Lou's office, I opened my guitar case, took the guitar out and began fingering the strings. The room was cluttered -- boxes of sheet music stacked up, recording dates of artists posted on bulletin boards, black lacquered discs, acetates with white labels scrambled around, signed photos of entertainers, glossy portraits -- Jerry Vale, Al Martino, The Andrews Sisters (Lou was married to one of them), Nat King Cole, Patti Page, The Crew Cuts -- a couple of console reel-to-reel tape recorders, big dark brown wooden desk full of hodgepodge. Lou had put a microphone on the desk in front of me and plugged the cord into one of the tape recorders, all the while chomping on a big exotic stogie. "John's got high hopes for you," Lou said. John was John Hammond, the great talent scout and discoverer of monumental artists, imposing figures in the history of recorded music -- Billie Holiday, Teddy Wilson, Charlie Christian, Cab Calloway, Benny Goodman, Count Basie, Lionel Hampton. Artists who had created music that resonated through American life. He had brought it all to the public eye. Hammond had even conducted the last recording sessions of Bessie Smith. He was legendary, pure American aristocracy. His mother was an original Vanderbilt, and John had been raised in the upper world, in comfort and ease -- but he wasn't satisfied and had followed his own heart's love, music, preferably the ringing rhythm of hot jazz, spirituals and blues -- which he endorsed and defended with his life. No one could block his way, and he didn't have time to waste. I could hardly believe myself awake when sitting in his office, him signing me to Columbia Records was so unbelievable. It would have sounded like a made-up thing. Columbia was one of the first and foremost labels in the country and for me to even get my foot in the door was serious. For starters, folk music was considered junky, second rate and only released on small labels. Big-time record companies were strictly for the elite, for music that was sanitized and pasteurized. Someone like myself would never be allowed in except under extraordinary circumstances. But John was an extraordinary man. He didn't make schoolboy records or record schoolboy artists. He had vision and foresight, had seen and heard me, felt my thoughts and had faith in the things to come. He explained that he saw me as someone in the long line of a tradition, the tradition of blues, jazz and folk and not as some newfangled wunderkind on the cutting edge. Not that there was any cutting edge. Things were pretty sleepy on the Americana music scene in the late '50s and early '60s. Popular radio was sort of at a standstill and filled with empty pleasantries. It was years before The Beatles, The Who or The Rolling Stones would breathe new life and excitement into it. What I was playing at the time were hard-lipped folk songs with fire and brimstone servings, and you didn't need to take polls to know that they didn't match up with anything on the radio, didn't lend themselves to commercialism, but John told me that these things weren't high on his list and he understood all the implications of what I did. "I understand sincerity," is what he said. John spoke with a rough, coarse attitude, yet had an appreciative twinkle in his eye. Recently he had brought Pete Seeger to the label. He didn't discover Pete, though. Pete had been around for years. He'd been in the popular folk group The Weavers, but had been blacklisted during the McCarthy era and had a hard time, but he never stopped working. Hammond was defiant when he spoke about Seeger, that Pete's ancestors had come over on the Mayflower, that his relatives had fought the Battle of Bunker Hill, for Christsake. "Can you imagine those sons of bitches blacklisting him? They should be tarred and feathered." "I'm gonna give you all the facts," he said to me. "You're a talented young man. If you can focus and control that talent, you'll be fine. I'm gonna bring you in and I'm gonna record you. We'll see what happens." And that was good enough for me. He put a contract in front of me, the standard one, and I signed it right then and there, didn't get absorbed into details -- didn't need a lawyer, advisor or anybody looking over my shoulder. I would have gladly signed whatever form he put in front of me. He looked at the calendar, picked out a date for me to start recording, pointed to it and circled it, told me what time to come in and to think about what I wanted to play. Then he called in Billy James, the head of publicity at the label, told Billy to write some promo stuff on me, personal stuff for a press release. Billy dressed Ivy League like he could have come out of Yale -- medium height, crisp black hair. He looked like he'd never been stoned a day in his life, never been in any kind of trouble. I strolled into his office, sat down opposite his desk, and he tried to get me to cough up some facts, like I was supposed to give them to him straight and square. He took out a notepad and pencil and asked me where I was from. I told him I was from Illinois and he wrote it down. He asked me if I ever did any other work and I told him that I had a dozen jobs, drove a bakery truck once. He wrote that down and asked me if there was anything else. I said I'd worked construction and he asked me where. "Detroit." "You traveled around?" "Yep." He asked me about my family, where they were. I told him I had no idea, that they were long gone. "What was your home life like?" I told him I'd been kicked out. "What did your father do?" "'lectrician." "And your mother, what about her?" "Housewife." "What kind of music do you play?" "Folk music." "What kind of music is folk music?" I told him it was handed down songs. I hated these kind of questions. Felt I could ignore them. Billy seemed unsure of me and that was just fine. I didn't feel like answering his questions anyway, didn't feel the need to explain anything to anybody. "How did you get here?" he asked me. "I rode a freight train." "You mean a passenger train?" "No, a freight train." "You mean, like a boxcar?" "Yeah, like a boxcar. Like a freight train." "Okay, a freight train." I gazed past Billy, past his chair through his window across the street to an office building where I could see a blazing secretary soaked up in the spirit of something -- she was scribbling busy, occupied at a desk in a meditative manner. There was nothing funny about her. I wished I had a telescope. Billy asked me who I saw myself like in today's music scene. I told him, nobody. That part of things was true, I really didn't see myself like anybody. The rest of it, though, was pure hokum -- hophead talk. I hadn't come in on a freight train at all. What I did was come across the country from the Midwest in a four-door sedan, '57 Impala -- straight out of Chicago, clearing the hell out of there -- racing all the way through the smoky towns, winding roads, green fields covered with snow, onward, eastbound through the state lines, Ohio, Indiana, Pennsylvania, a twenty-four-hour ride, dozing most of the way in the backseat, making small talk. My mind fixed on hidden interests...eventually riding over the George Washington Bridge. The big car came to a full stop on the other side and let me out. I slammed the door shut behind me, waved good-bye, stepped out onto the hard snow. The biting wind hit me in the face. At last I was here, in New York City, a city like a web too intricate to understand and I wasn't going to try. I was there to find singers, the ones I'd heard on record -- Dave Van Ronk, Peggy Seeger, Ed McCurdy, Brownie McGhee and Sonny Terry, Josh White, The New Lost City Ramblers, Reverend Gary Davis and a bunch of others -- most of all to find Woody Guthrie. New York City, the city that would come to shape my destiny. Modern Gomorrah. I was at the initiation point of square one but in no sense a neophyte. When I arrived, it was dead-on winter. The cold was brutal and every artery of the city was snowpacked, but I'd started out from the frostbitten North Country, a little corner of the earth where the dark frozen woods and icy roads didn't faze me. I could transcend the limitations. It wasn't money or love that I was looking for. I had a heightened sense of awareness, was set in my ways, impractical and a visionary to boot. My mind was stro...

前言/序言

《星辰之径：失落文明的密码》 一、引言：尘封的呼唤 公元2347年，地球历经“大寂静”时代近两百年后，人类文明在废墟上蹒跚重建。新生的人类社会，建立在对历史的敬畏与对未知的好奇之上。故事的主角，艾拉·文森特，一位年轻的考古语言学家，正致力于破译一种被称为“原始语”的远古方言。她的工作地点并非寻常的博物馆或大学实验室，而是位于南极冰层深处，一座被地质活动偶然暴露出来的巨大立方体结构——“方舟”。这座结构的历史可以追溯到“大寂静”前的黄金时代，一个被后世称为“全盛纪元”的时期。 艾拉深信，方舟内部隐藏着那个伟大文明留下的最后信息，那是关于他们如何崛起，又如何在一夜之间销声匿迹的终极答案。但方舟的入口并非实体之门，而是一种基于复杂数学和声波共振的能量屏障。她的团队，由顶尖的物理学家、工程师和密码专家组成，历经数年，终于捕捉到了屏障发出的微弱、规律性的振动——那是文明的“心跳”。 二、失落的文本与密钥 在成功开启方舟的外部传感系统后，艾拉终于获得了第一批数据流。这些数据并非数字代码，而是一种复杂的、多维度的图像和声音的混合体，被艾拉命名为“光子叙事”。这些叙事记录了一个名为“阿卡迪亚”的全球联合体，他们掌握了超越现有理解的科技，包括对引力场和时空涟漪的精确操控。 主要的挑战在于“语言”。阿卡迪亚的语言系统，即艾拉正在研究的“原始语”，并不依赖于线性书写，而是通过激活特定区域的大脑神经元来传递意义。艾拉团队开发出一种神经接口设备，能够将光子叙事转化为可供人类理解的感官体验。 在分析了数以万计的“光子片段”后，艾拉发现了一个反复出现的符号集群，它总是在描述一个名为“塞壬之歌”的事件。这个符号序列似乎是理解整个文明历史的关键。在一次近乎绝望的尝试中，艾拉将一个失传已久的古代乐谱——一首被认为只是神话的旋律——输入到接口中，奇迹发生了：“塞壬之歌”的符号集群瞬间被解锁，露出了核心的文本信息。 三、阿卡迪亚的兴衰 文本揭示了阿卡迪亚的辉煌与傲慢。他们并非毁于战争或瘟疫，而是毁于他们对“完美平衡”的过度追求。阿卡迪亚文明的核心哲学是“熵的逆转”，即利用先进技术来对抗宇宙固有的无序性。他们建立了一个全球性的能量网络，通过抽取特定维度空间的能量来维持其社会的绝对稳定与高效。 核心人物是一位名叫“至高架构师”的领袖，她在文本中以第一人称的口吻记录了文明走向衰亡的过程。她描述了一种“静默的觉醒”——当文明的稳定达到极致时，生命本身开始失去其内在的“变数”和“创造力”。艺术变得公式化，情感被优化，个体的差异被视为低效的噪声。阿卡迪亚的公民们虽然物质上达到了天堂，精神上却陷入了虚无。 四、维度裂隙与“大寂静”的真相 文本的后半部分充满了紧迫感。至高架构师意识到，他们维持的“完美平衡”正在撕裂现实的结构。为了对抗熵增，他们过度开采了维度的能量，无意中在宇宙中打开了一个巨大的、不稳定的“裂隙”。 “大寂静”并非一次爆炸，而是一次“撤离”。至高架构师和少数清醒的科学家们，在裂隙吞噬地球之前，启动了最后的“方舟计划”。方舟的目的地并非另一个星球，而是时间本身。他们将自己的意识、知识和文明的精华，通过超光速的“时空锚点”，投射到了一个更稳定的时间点——即艾拉所处的“后寂静时代”。 艾拉发现，她所破解的“原始语”，其实是至高架构师为未来的人类留下的“警钟”和“蓝图”。如果未来的人类重蹈覆辙，试图重建同样的完美系统，裂隙就会重新打开，彻底抹除地球上的所有生命。 五、传承与抉择 在方舟的深处，艾拉找到了最后的遗物：一个晶体核心，里面封存着至高架构师留下的一个“选择”。这个选择就是：继承阿卡迪亚的科技，冒着重蹈覆辙的风险，重建一个更强大的文明；或者，将这段历史永远封存，让后来的社会在不完美、充满变数和奋斗的道路上自然发展。 艾拉面临着巨大的伦理困境。她手中的技术可以瞬间解决她所处时代的一切贫困、疾病和能源危机。然而，她也看到了那个黄金时代是如何在光芒万丈中走向自我毁灭的。 最终，艾拉做出了决定。她没有将方舟的全部数据公之于众，而是精心地筛选了部分基础科学知识，这些知识可以帮助她的人类社会安全地发展数百年，但不足以让她重建阿卡迪亚的“完美系统”。她将“塞壬之歌”的完整真相——关于维度裂隙和熵的逆转理论——永久地编码进了方舟的深层结构中，并设置了一个极其复杂的、需要数代人才能完全破解的保护机制。 《星辰之径》的故事结束于艾拉离开方舟，面对南极的极光。她知道，她选择了一条更艰难的路，一条充满不确定性的路。但正如她破译的最后一段信息所言：“真正的生命力，存在于不完美和对抗无序的微小努力之中，而非对永恒静止的痴迷。”她将这段历史，变成了一个需要未来人类用自己的智慧和道德去逐步解锁的密码。她不再是考古学家，而是文明的“守门人”。 （字数：约1500字）

评分☆☆☆☆☆

这本书的装帧拿到手的时候就给我一种非常朴实的感觉，封面设计很简洁，没有太多花哨的元素，给人一种沉稳、值得细品的味道。纸张的质感也相当不错，摸起来舒服，油墨印制清晰，即便是长时间阅读也不会让眼睛感到疲劳。我特别喜欢它那种微微泛黄的内页处理，仿佛带着历史的沉淀感，让人在翻阅时更容易进入作者所构建的世界。装订部分处理得非常结实，即便是经常翻阅，也不用担心书页会松脱，这对于一本需要反复品味的传记来说至关重要。整体来看，出版方在书籍的实体制作上确实下了不少功夫，这种对细节的关注，让阅读体验从一开始就提升了一个层次。拿到手后，我几乎是迫不及待地翻开了第一页，那种期待感，就像是即将与一位老朋友面对面，准备聆听他娓娓道来的那些尘封已久的故事。这种实体书的仪式感，是电子阅读永远无法替代的。

评分☆☆☆☆☆

读完合上书的那一刻，一股强烈的怅然若失感涌上心头，这证明了这本书已经成功地在我的精神世界里留下了深刻的印记。这不是一本“读完就放一边”的书，它更像是一个引子，激发了我重新去聆听那些熟悉的旋律，去用全新的耳朵去解读那些曾经听过无数遍的歌词。它改变了我对这位艺术家过往的认知，让我看到一个更立体、更复杂、更有人味儿的灵魂。与其说这是一本回忆录，不如说它是一部关于如何在纷繁世界中保持自我独立思考的指南。它用最朴实的语言，讲述了最不平凡的人生轨迹，其中蕴含的力量，足以支撑我在面对自己生活中的“风暴”时，多一份从容和坚韧。

评分☆☆☆☆☆

阅读这本书的过程，简直就是一场精神上的马拉松，它不是那种让你一口气读完的爆米花读物，而是需要你放慢脚步，细细咀嚼每一个句子、每一个段落背后的深意。作者的叙事方式非常独特，他似乎并不急于抛出爆炸性的猛料，而是更专注于捕捉那些转瞬即逝的内心感受和环境的氛围渲染。有那么几处描绘，我甚至能清晰地“看”到当时的场景，仿佛置身于他描述的那些昏暗的酒吧、拥挤的排练室，甚至是在漫长巡演路上的孤独长夜。这种强烈的画面感，得益于作者对语言近乎偏执的雕琢，他总能找到那个最精准、最具张力的词汇来表达那种复杂的情绪，时而尖锐如刀，时而又带着一种难以言喻的温柔和自嘲。读到一些关于创作瓶颈和自我怀疑的部分时，我深有共鸣，那份挣扎和坚持，远比光鲜亮丽的成就更令人动容。

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这本书带给我最大的震撼，在于它对“真实”的毫不掩饰。很多名人的回忆录为了维护形象，多少会对某些经历进行美化或过滤，但在这里，我感受到的是一种近乎残酷的坦诚。作者毫不避讳地谈论自己的弱点、犯过的错误，以及那些不那么光彩的时刻。这种真诚的力量是巨大的，它拉近了作者与读者之间的距离，让我们明白，即便是那些被冠以“传奇”之名的人，其内心深处也充满了人性的脆弱和迷茫。尤其是他对某些关键历史时刻的个人解读，提供了完全不同于主流叙事的视角，这使得整本书的厚度猛增，不再只是简单的事件罗列，而是上升到了一种对时代、对艺术、对个人命运的深刻反思。每一次阅读，都会因为心境的不同，而捕捉到之前忽略掉的微妙信息。

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从文学技巧的角度来看，这本书的结构安排非常巧妙，它并非严格按照时间线索推进，而是像音乐的变奏一样，在不同的记忆片段和当下感受之间自由穿梭。这种非线性的叙事手法，完美地契合了回忆的本质——记忆往往是碎片化的，是被情感碎片重新组织的。作者通过这种方式，成功地营造出一种梦境般的流动感，让你沉浸其中，时而惊喜，时而怅惘。此外，书中穿插的那些关于音乐创作的片段，虽然对于非专业人士来说可能略显晦涩，但对于真正热爱音乐的人来说，简直是宝藏。他剖析了音符如何组合成情感，歌词的每一字是如何被赋予生命力的过程，那种对艺术的虔诚和探索欲，极具感染力。

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速度很快 唔相不錯，下次再來買

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我为什么喜欢在京东买东西，因为今天买明天就可以送到。我为什么每个商品的评价都一样，因为在京东买的东西太多太多了，导致积累了很多未评价的订单，所以我统一用段话作为评价内容。

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非常好的书

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包装得还不错，书没问题。

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原版，质量好，包装好没有破损，发货超快

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不错，有空可复读

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速度很快 唔相不錯，下次再來買

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美国好方歌手有名

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等着好久，质量没得说！好